Page 1

Conductor’s Score

Ceasing A Piece for Choir and Electronics by Joe Bates


Instrumentation For SATB, in eight parts. If further singers are available, parts may be doubled, but the passages marked ‘solo’ should be performed by just one singer.

Notes Duration: c.16’ Special Techniques Transition smoothly from one technique to another.
 Repeat the marked passage, out of tempo, until the next rest.
 Open / Closed. When closed, a hand should be placed over the mouth so that little sound escapes.
 Alternate between closed and open increasingly/decreasingly rapidly, starting off slowly (c. crotchets) and ending up rapid (c. semiquavers).

Whistle

A very high or very low note, either sung (left) or whistled (right). The 
 highest note should be very high but not forced, the lowest note should be very relaxed, and almost devoid of pitch. “Scoops” and “plops” are notes proceeded by a short glissando, which is performed on the beat.


Microtonal Notation The unconventional accidentals are 31c flatter than the symbol would usually indicate. This corresponds to the 7th harmonic:
 31c flatter than a flat
 31c flatter than a natural
 31c flatter than a sharp


Glissandi When a specified note is given at the beginning of a glissando, it should be slightly emphasised. If no specific note is given (i.e. a highest or lowest note is indicated) then the glissando should start immediately.

Bracketed Vowel Sounds To avoid hearing doubled consonants at the end of notes, sometimes singers are asked to sing just the vowel sound, or just the first consonant and the vowel sound. Where this is the case, the final consonants are indicated in brackets to aid pronunciation.

Free Tempo Section, Letter T–V At the general pause at bar 125, the conductor should wait for the electronics to cross-fade with the sustained vocal chord. Once the electronics are established, they should lead into T. At T, the conductor should cease to beat time. Instead, they should mark out each chord with an upbeat and downbeat, marking the chords number (I-VII) with their fingers if need be. The singers should perform their passages using their natural speech rhythms. Notes with hollow note head should be sustained, otherwise passages should end after the final note, even if the chord is still going on. Singers should not be concerned if they end up a little behind when the conductor moves onto the next chord. Instead, they should keep going, contracting any gaps in their line in order to get back into synchronicity. The desired effect is a a cloud of spoken, recitative-like melodies that form clouded chords.

Other Free Tempos/General Pauses H: The conductor should stop beating tempo at bar 58. The singers should freely repeat their boxes. On the conductors cue, the score transitions to I. The electronics fade out. When fully fade, the conductor can cue bar 62 and begin the next section. N: The performers should pause on the second note, waiting for the electronic processing of their line to be audible. The conductor will cue bar 99 with an upbeat. AA-BB: The transitions should led by the electronics. The conductor should wait for the electronic cue, then lead the choir to the next chord.

Overtone singing Overtone-rich notes can be produced by pursing the lips while singing. The partials produced are not specified and need not be controlled, but should not change too rapidly.

Electronic Notation All singers should sing into a microphone, which should be fed into a computer and processed live using Ableton. Alongside this live processing, the electronic performer uses a synthesiser and drum machine. Changes in the electronics are not generally notated in


the full score or in the singers’ parts, other than where a specific note or chord is produced using a synthesiser. Vocal Processing While they are not notated, it is worth understanding the basic sounds that will be generated through vocal processing to avoid surprise: Echo (A): This effect varies between a simple echo and a highly processed, distorted echo. Echo (B): This effect plays back samples of the singers line a seventh higher, a fifth lower, and, more quietly, a 5th higher and an octave lower. It also reverses these samples, creating a strange linguistic effect. Granular (C): This contains three effects. The Granular effect samples small passages of its input, repeating them at varying speeds. This can then be transposed. The Vocoder effect tracks the pitch of the input and outputs a sine tone a fifth and an octave and a fifth higher. These tones randomly shift in their tuning. Synthesiser A wave-table synthesiser, recorded and used as triggered clips in Ableton, accompanies the choir. Performance The electronic part requires Ableton Live and external MIDI controllers. The score is written with the desired effects in mind, the part is notated specifically for a given set up, which involves a Novation LaunchControl and a Novation LaunchKey 49. 


Ceasing Joe Bates

° 3 Soprano 1 & 4

q=63

Soprano 2

& 43

Alto 1

3 &4

Alto 2

3 &4

3 &4 ‹

& 43 ‹

Tenor 1

Tenor 2

+ ?3 Bass 1 & 2 ¢ 4 b˙˙ ™™

mp * see note

O

Electronics

3 & 4 {

˙™ ˙™

b˙˙ ™™ ∑

+ b˙˙ ™™

o ˙˙ ™™ ∑

˙™ ˙™

b˙˙ ™™

O

o b˙˙ ™™

* Use hand to close/open mouth. Some sing as written, an equal number reverse polarity of open/closed.


2

° & 9

S1

A

S2

&

A1

&

A2

&

& ‹

T1

p

& ™ ‹ ˙ A + ? B1.2. ¢ ˙˙ ™™ El.

{&

b˙- ™

b˙ ™

T2

O

mp * see note

A

b˙˙ ™™ ∑

b˙˙ ™™ ∑

b-˙ ™

b-˙ ™

b-˙ ™

o ˙˙ ™ ™

+ b˙˙ ™™

˙˙ ™™

O

* Emphasise the written pitch slightly, for about a quaver.

bœ- ™

b˙˙ ™™ ∑

j Œ bœ-


B

° & 16

S1

C ∑

solo

œ bœ œ œ œ à˙

mf

f mf

3

In the cab,

S2

A1

& &

∑ ∑

∑ p

b˙ ™

Da

A2

T1

& & ‹

∑ ∑

& b˙ ™ ‹ A o ? B1.2. ¢ b˙˙ ™™ T2

El.

{&

∑ b˙ ™ + ˙˙ ™ ™ O

∑ ∑ b˙ ™ b˙˙ ™™ ∑

∑ b˙ ™ ˙˙ ™™ ∑

+ b˙˙ ™™ A

O

b˙ ™ da

da

b˙ ™

I

˙˙ ™ ™ ∑

can hard -ly bear to

mp

f mf

3

bœ ™ bœj Œ b˙ ™

à œ bœ œ œ œ ˙

mf

In the cab,

o b˙˙ ™™

I

œbœ bœ bœ œ œ

b˙ ™

∑ solo

3

∑ œbœ bœ bœ œ œ

b˙ ™

can hard -ly bear to

b˙˙ ™™ ∑


4

° & ˙ 24

S1

œ bœ b˙

face

S2

A1

A2

the dri

&

-

ver.

b˙ ™

da

da

Œ

˙

& b˙ ™ &

mp

b˙-

mf

A

p

˙™

& ˙ œ bœ bœ b˙ ‹ face the dri -ver

& b˙ ™ ‹ o ? B1.2. ¢ ˙˙ ™™ T2

El.

{&

Œ Œ

bœ ™ bœj Œ b˙ ™

b˙ ™

b˙˙ ™™

˙˙ ™ ™

A

+ b˙˙ ™™ ∑

œ

O

˙™

∑ mf

A

T1

3

Do I

∑ p

D bœ bœ bœ œ mf

b˙ ™

˙™ ∑

+ b˙˙ ™™ ∑

Œ

3 bœ bœ bœ œ

bœ ™

˙˙ ™™

Œ

mf

Do I

o

b˙ ™ œ

b˙ ™

b˙˙ ™™

Da

p

cry,

O

cry,

jŒ bœ


° <b>œ nœ bœ œ & 31

S1

3

œ

œ àœ nœ œ

so he knows,

S2

A1

or lock my

&

da

A2

T1

T2

B1.2.

El.

& ‹

<b>œ nœ bœ œ

& b˙ ™ ‹ A

3

so he knows,

b˙ ™

b˙ ™

da

da

da

œ àœ nœ œ b˙ ™

or lock my

˙˙ ™ ™

? ˙™ ¢ b˙ ™ {&

œ

∑ mp

b˙ ™ A

∑ b˙ ™

˙ 4

b˙ ™

eyes u - pon the road a -

head

(on the beat)

˙

Œ

bœ ™

jŒ bœ

œœ

o b˙˙ ™™

˙˙ ™™ ∑

p

œ ˙

A

œ œ œ œ bœ bœ œ- œ

b˙ ™

da mf

bœ mp

4

b˙˙ ™™ ∑

Œ

˙

eyes u - pon the road a - head?

b˙ ™

&

mp

œ œ œ œ œ œ œ œ œ4

4

& b˙ ™

5

(on the beat)


6

° œ œ œ S1 & 36

E

œ

f #œ œ œ à œ #-œ

As we creep through traff - ic

œ ûœ ˙

* see note

mp

S2

&

I

˙

œ

Ee

& b˙ ™ da

A2

& œ œ nœ

T2

& ‹

œ

Ee

da

mp

œ

à

œ #œI

mf

˙

track

œ œ û˙

the

#œ-

mp

dyn sim.

time

œ

œ œ

4

œ

œ û˙

Ee

b˙ ™

b˙ ™

˙˙ ™ ™

o b˙˙ ™™

+ ˙˙ ™™ O

œ

as though she's

b˙ ™

˙

œ

da

mp

Ee

O

mp dyn sim.

da

Ee

& b˙ ™ ‹ A

{&

ûœ œ J

œ bœ

4

as though she's

b˙ ™

#œ œ œ

ûœ

˙

time

b˙ ™

f

* see note

mf

+ ? B1.2. ¢ b˙˙ ™™

El.

Ϫ

œ œ

b˙ ™

As we creep through traff - ic

T1

the

Ee

p

A1

track

mp mp

#-œ

œ œ


3 ° S1 & œ nœ œ œ œ œ œ ˙

40

wai - ting

S2

&

on

‰ œj

a gi -ven hour.

œ ûœ ˙

F

As

œ ûœ

˙

˙™ œ œ œ œ œ œ œ Slower [q=56]

if she's go - ing to meet me

œ

˙

Ee

A1

Ee

n˙ ™

& b˙ ™ da

A2

Œ

& nœ œ œ œ œ œ œ ˙ wai - ting

T1

T2

B1.2.

El.

& ‹

on

a gi -ven hour.

ûœ

˙

Ϫ

Ee

jŒ bœ

? ™ ¢ b˙˙ ™

‰ ‰ œj

ûœ

œ

œ û˙

Ee

ûœ

œ œ ˙ œ œ œ œ œ f

if she's go - ing to meet me

mf

there.

b˙ ™

b˙ ™

b˙ ™

f

A

f

o b˙˙ ™™

n˙˙ ™™

œ

œ ™ ûœ œ J

da

Ee

As

& bœ ™ ‹

{&

mp

there.

mf

da

3

f

b˙ ™

b˙ ™

da

7

˙˙ ™™

(keep open)

O


8

° œ & 44

S1

mf

tutti

mp

œ œ

œ

‰ œj œ œ

Œ

There.

S2

& œ

As

œû œ

˙

œ

Ee

A1

&

da

ûœ

˙

œ

Ee

T1

& ‹

œ

B1.2.

El.

Œ ‰ œj œ œ

tutti

As

da

û˙ p

˙

ùœ

bœ ™

mf

™ b˙˙ ™

? ™ ¢ #˙˙ ™

ûœ ûœ

bûœ

mf

Ee

f

mf

œ œ œ œ ˙

if she's going to meet me

& b˙ ™ ‹

{&

b˙ ™

Ee

mf

T2

Ee

da

mf

me.

ûœ œûbœ ùœ ûœj J J

b˙ ™

b˙ ™

da

A2

Ϫ

œ Œ J

mf

Ee

& b˙ ™

mf

œ œ œ œ œ™

if she's there to wait for

p

˙

f

G

j Œ bœ

œ

there.

‰ œj œ œ

As if she's

b˙ ™

b˙ ™ mp

A

˙˙ ™™

Œ

b˙˙ ™™ O


° & œ œ- œ 48

S1

As

S2

A1

T2

œ bûœ J

7

b˙ ™

7

Œ

bûœ

7

b˙ ™

ùbœ

ûœ

o Œ

247b˙

Ee

Ee

œ b˙

427b ˙

Ee

Ee

œ 7b˙

24 7b˙

Ee

Ee

#˙˙ ™™

b bb œœœœ

G1 7 7 7

˙

mf

˙˙˙ ™™™™ ˙

p

Œ

Ee

b˙ ™

? ˙™ B1.2. ¢ ˙™

El. & Ó {

mp

7

7

mp 24 ˙

œ

43

43 43 43

43

Ee

p

œ b˙

42 b˙

O

O

œœ #˙˙

42 #˙˙

O

O

˙˙˙ ™™™™ ˙

mp

Ee

œ b˙ 7

Ee

ùœ

42 Œ

Ee

ûbœ bùœ J

7

f œ œ œ œ œ & ‹ going to meet me there.

& ‹

˙

me

Ee

T1

mf

Ee

& b˙ ™ & <b>œ

for

‰ ‰ ùœJ

da

A2

f

if she's there to wait

& <b>œ ™

o

œ œ ˙

-œ œ -œ

9

p

˙˙ 42 ˙˙

43 43

43


10

H p ° 3 œ í ™™ Œ S1 & 4

™™î

52

* see note

Ee

3 b˙ ™ & 4 í ™™ 7

S2

Ee

Œ ™™î

p

* see note

Ee

3 & 4 í ™™7b ˙ ™

with gradually shorter gliss.

U

™™î

Ee

ùb ˙ ™

7û 3 ™ í ™ &4 b˙™

A2

Ee

T1

3 &4 ‹

Ee

í ™™ Œ œ

™™î

* see note

Ee

3 & 4 í ™™ b˙ ™ ‹ O

U

* see note

U

with gradually shorter gliss.

B1.2.

?3 ¢ 4 #˙˙ ™™ O

˙˙˙ ™™™™ 3 El. & 4 ˙ {

to shared stave

U

™™î

breath ad lib.

to shared stave

breath ad lib. * see note

T2

to shared stave

™™î

breath ad lib. 7

bU ˙™

7

Ee

breath ad lib. * see note

A1

U ˙™

Free tempo G.P.

with gradually shorter gliss.

to shared stave

n˙˙ ™™ ˙˙˙ ™™™™ ˙

* Loop marked passage.

b˙˙ ™ ™

bb˙˙ ™™

˙˙ ™™

˙˙˙ ™™™™ ˙

˙˙˙ ™™™™ ˙

˙˙˙ ™™™™ ˙

í ™™

U

™™î

Descend until lowest note is reached * see note

_™

O

˙˙˙ ™™™™ ˙

˙˙˙ ™™™™ ˙

˙˙˙ ™™™™ ˙

˙˙˙ ™™™™ ˙


11

I

° &

A Tempo when effects fade

S1

Ϊ

U ∑

61

mf solo

œ œ œ J

Ϫ

p

‰ Œ

When I arr - ived, 7U b˙ ™ ™ í & ™

™™î

U & í ™™7b b˙˙ ™™ u

™™î

mp

S2

Ah mp

7

A1.2

œ œ 7bœ œ 3

When I

pp poss.

œ ‰ J

Ó

arr - ived,

When

* see note

* see note

Ah

T1.2

B1.2.

El.

¢

& ‹ ?

{

U ∑

U ∑

b˙™ & 7b b ˙˙ ™™ ?

77

I1

U ∑

˙˙ ™™ ˙™

˙˙ ™™ ˙™ ∑

˙˙ ™™ ˙™ ∑

˙˙ ™™ ˙™ ∑

* Use hand on mouth to create a 'wah' effect, getting gradually faster and slower.


12

66 ° 7bœ œ ˙ S1 &

I arr - ived,

b˙ ™ ≠ ‰ í ™™ ≠‰

&

A1.2

∑ 7

&

S2

J

Œ

Ϸ

Ó œ œ œ œ œ

3

She was al - read - y

!™

pp

mp

* see note

& ‹

T1.2

ng

B1.2.

El.

¢

?

!™

mp

* see note

{

˙™ & ˙˙ ™™ ?

mf

í ™™ ˙˙ ™™

™™î

mf

™™î

Ah

pp

ng

í ™™

˙™

b˙ ™ n ˙˙ ™™ Ah

7

˙™

œ

pp poss.

™™î

mf

Ah

J1

p

œ̇

œ

dead She was

œ

al - read - y

œ œ Œ

œ œ œ bœ ∑

dead, when I arr ived.

* see note

* see note

˙™ ˙˙ ™™ ˙™

* Gliss. from highest possible note, transition from an 'ng' to an 'ah'

˙™ ˙˙ ™™ ˙™

˙™ ˙˙ ™™ ˙™


° S1 &

tutti pp

71 * see note

_™

K

13

b˙ ™ í ™™

(norm.)

b˙ ™ ≠ í ™™

(norm.)

mp

mf

7

ng

Ah

mf

7

&

S2

Ah

44

3 ≠Œ 4

™™î

44

3 ≠Œ 4

3 j ‰ œ œ œ œ œ œ Œ œ œœ œœ œœ œ 44 ˙ ™ œ ˙™ ‰ œJ œ œ œ œ œ Œ œ

mf

Ó Ó

& <b>œ Œ Œ

A1.2

™™î

3

There is -n't much else

& ‹

T1.2

B1.2.

El.

¢

?

{

≠ !™

pp

that I re - mem - ber

44

43

Œ Œ

44

43

mp

-

ng

˙™ & ™ ˙˙ ™ ? ˙™

Œ 43 Œ

ah

bb˙˙ ™™

77

˙˙ ™™

K1

* Gliss. from lowest possible note.

˙˙ ™™ ∑

44 ˙˙ ™™ ∑

44

Œ 43 ∑

43


14

° 3 S1 & 4

45

43

3 &4

45

43

76

S2

& 43 í ™™7b˙ ™

™™î

≠ Œ í ™™b˙ ™

™™î 45

3 ≠Œ 4

3 7 & 4 í ™™b˙˙ ™™ ‹ Ah

™™î

b˙ ™ ≠ Œ í ™™ ˙ ™

™™î 45

3 ≠Œ 4

mf

A1.2

Ah

mf

T1.2

mf

? 3 Œ œ œ 3 bœ B1.2. ¢ 4 J solo

El.

{

The priest took

3 & 4 7b7 ˙ ™™ b ˙˙ ™ ?3 4

K2

7

mf

Ah

Ah

f

œ œ bœ œ œ ˙ J

Œ

˙ ™™ ˙˙ ™

Œ

3

4 œ œ œ œ 5œ œ œ œ Œ 3 4 4

too long,

˙ ˙˙

mf

4

I did -n't know how to pray.

b˙ ™ b n ˙˙ ™™

K3

7

7

45 w w w 45

Œ 43 ∑

43


15

L ° 3 S1 & 4 81

S2

3 &4

∑ b>˙ ™

f mf

7

b>˙ ™

7

f mf

54 b˙ 7

˙™

Ah

Ah 7

b˙ 45

Ah

3 & 4 œœ f

A1.2

œ œ

™ & 43 Ó˙ ™ ‹ >

small,

Ó˙™™

Ah

tutti f mf

El.

{

3 &4

L1a

?3 ˙™ 4 ˙˙ ™™

such a small

Ó˙™™

Ah

˙˙ ™™

Ah

p

œ̇ bœ œ ‰‰ œœ œœ œœ ™ œ œ œœ œœ œœbœœ œœ 45 œœ nœœ œœ œ ˙˙ ™™

œœ

f mf

?3 B1.2. ¢ 4 ˙˙ ™™ >

˙™

(on the beat)

5

T1.2

p

Ah 5

She seemed so

˙™

b˙ ™

7

˙™ ˙™

f mf

45 ˙˙

Ah

˙ 45 ˙

Ah

b˙˙ ™™

L1b

7 L1c

˙™ ˙˙ ™™

˙˙ ™™ ˙™

à à

thing.

˙˙ ™™

L1d

p

Ah

˙˙ ™™

Ah

54 ˙˙ ˙ 54 ˙˙ ˙

p

bb ˙˙ ™™ ˙™ ˙˙˙ ™™

77

L2

p


16

M ° S1 & Ó 85

bœ 7bœ œ

mf 7

What did

bœ 7bœ œ

mf 7

& Ó

S2

What did

mf

& Ó

A1.2

& ÓÓ ‹

mf

? Ó B1.2. ¢ Ó

mf

El.

=

I

bœ b œ œ

7

7

What did

T1.2

I

I

œœ œœ œœ What did

I

7

miss?

7

miss?

7

miss?

˙˙ miss?

œœ œœ œœ ˙˙ What did

{&

I

miss?

N G.P. (wait for elec.) q.=48 U ° 12 ∑ S1 & 8 S2

U ∑

12 & 8 ˙™

U™ ˙

Was

there

p

A1.2

T1.2

B1.2.

¢

12 &8 ‹ ? 12 8 N1

El.

12 & { 8 ~~~ ™™ ~ ™

What did

Ó™

U ∑ U ∑

I

p

What did

Ó™

I

7 bœ b œ œ b˙ 7

Ó™ Ó™

What did

I

12 8

12 8

12 8

12 8

12 8

miss?

p

7

miss?

bœ œ œ ˙

7

miss?

‚‚ ‚‚ ‚‚ OO (whistled)

Ó™ Ó™

‚‚ ‚‚ ‚ O (whistled)

Ó™

89

12 &8

Ó™

p

bœ œ œ ˙

7

‚‚‚ ‚‚‚ ‚‚‚ ‚ ‚ ‚ OO ™™

˙™

mp

12 8

M1

à ™ œ œ œ œ™ J

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some

last

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he

-

(on the beat)

f

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co

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rence.

rence?


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B1.2.

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=

¢

f

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à

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œ œJ #œ œJ œ™

a gri - mace.

Ϫ pain,

& ‹ ?

˙™

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∑ ˙™

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rence.

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& ‹

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mf

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ff

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22

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&

S2

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& Ϫ

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w { & bbbw ww ™™™ (loco)

mp

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too.

f

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Ϫ

à œ™ bœ ™ Un - con -

Œ ™ bœ ™

‰ Œ™

-

fa(de)

-

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mf

à

for

hours,

˙™

Ϫ for

œ™ bœ ™ œ ™

˙™ f

-

bœ ™

too,

bw ™

fa

El.

mf

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too

? b˙ ™

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B2

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Ó™

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for

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mp

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for

hours,

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co(n)

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mf

mp

scious

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à

for

bœ ™

for

hours,

˙™


° S1 & 115

&

S2

<b>˙ ™ ˙™

mp

à à

hours,

&

A1

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& ‹

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B2

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hours,

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à à

bœ ™ or

œ œ œ™ J

b w™

7p

fused,

˙™

p

fused.

Ϫ Per -

à œ™ œ™ f

fused.

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(whistling) * see note

4™

b˙ ™

7p

b w™

8 ΠJ

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4™

˙™

Ϫ

Ϫ

œ ‰ Ó™

à

Ϫ

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fused.

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con - fused,

bœ ™ bœ ™ or

mp

Ϫ

œ ‰ Œ™

Ϫ

fused.

-

hour

mp

b w™

7p

23

˙™

p

con -

fused,

bœ ™

p

con -

fused,

˙™ w ™ w ww ™™

* Whistling from highest to lowerst possible notes.

˙™ con

œ bœ œ ™ J

-

fused.

œ ™ bœ ™ con

-

œ ™ bœ ™ con

-

à œ™ œ™ f

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œ bœ œ nœ œ ™ à œ™ J J fused.

œ bœ ˙ ™ J

fused.

w ™ w ww ™™

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à bœ ™ f

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R

24

° & 118

S1

bw™ f

p

haps

&

S2

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˙™

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&

A1

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&

˙™

à œ™ œ™ œ™ mf

b˙ ™

haps,

& ‹

T2

?

B1

per haps

El.

¢

?

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‰ Œ™

mp

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fa

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ding

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b˙ ™ f

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<b>˙ ™ -

™ w { & <b><b><b>w ww ™™

à ˙™

˙™

mf

œ ™à œ ™ œ ™ mf

mp

per haps

b˙ ™ mf

˙™

too,

fade

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haps

fa

-

à bp˙ ™

Ϫ

à

Ϫ

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‰ Œ ™ b˙ ™ too

b˙ ™ too

Ϫ

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ding

too,

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too

w™

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p

haps

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p

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ha(ps)

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-

‰ Œ™

too

w™

haps,

B2

˙™

p

p

& ‹

T1

à

fade

norm. mp

f

p

fa(de)

haps

ha(ps)

A2

‰ Œ™

˙™

mf

b˙ ™

œ™ à œ™ un -

b˙ ™ too

w ™ w ww ™™


° & 121

S1

bw ™

-

too

&

S2

&

A1

&

A2

à

˙™ bœ ™

b˙ ™

˙™

Ó™

Ó™

˙™

˙™

Ϫ

& ‹ & ‹

T2

?

B1

™ <b>˙ ™

for

-

‰ Œ™

B2

El.

¢

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hours,

hours

bœ ™

˙™

<b>˙ ™

™ w { & <b><b><b>w ww ™™

à

˙™

hours

b˙ ™

for

hours,

p

˙™ w ™ w ww ™™

$™

Ϫ

Ϫ

or

con -

* see note

˙™

p

˙™

-

fused

mf

p

w™

fused.

‰ Œ™

$™

(whistling) * see note

bœ ™ or

Ϫ

‰ Œ™

(whistling)

-

bw ™ ˙™

-

mf

hour

à b˙ ™

con - scious

?

p

25

or

con

con - scious

T1

or

o ™ bœ ™ Œ

hours

‰ Œ™

‰ Œ ™ b˙ ™

S

Ϫ

Ó™

bw ™ mf

p

con - fused,

œ™ bœ ™

or

mf

con - fused

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b˙ ™

w™

mf

con - fused

w ™ w ww ™™

p

à


26

° S1 &

$™

* see note

124 (whistling)

& 4

S2

& ˙™

A1

A2

& w™

T1

& ™ ‹

˙™

con

4

-

? Ó™

{

& ?

Ó™

4

‰ Œ™

-

w™

U ˙™

w™

U ˙™

fu(sed)

con

o p ‰ bœ œ7bœ œ œ o Ó™

U ∑

U ∑

bw ™ -

by the time

U ˙™

o Ó™

U ˙™

o Ó™

fu(sed)

b˙ ™

bœ œ œ

7

U ∑

bw ™ -

Ϊ

p

when he was

con

¢

4

‰ Œ™

? bw ™

B1

El.

à

& ‹

T2

B2

$™

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(whistling)

‰ Œ™

U Ó™

G.P.

fu(sed)

T1

bU w bb w w™™™

7 77

U ™ b bw w™

she


° &

T

I

bw

bœ œ

127 Lucy f 7 7 S1

Awake. I've actually Fiona f 7

7 b œbœ bœ œ œ

&

7

&

7

We had a really strong group at university.

bW

Strong.

bW f

& &

7

7 œb œ ˙

œœ˙

bw

Died.

bw

f

œ bœ œ bœ œ

I'm quite an independent person, so I was

Will

f

bw & were childhood best friends. ‹ f We I hadn't seen him Ben ? bw

B1

Piers f

? ¢

?

Jack

{

f

œ

mp

bw

7

Properly break down. It was really.

œ 7bw

bw

Desperate to move away aged eighteen. I was quite

mp

7 œ œ bœb œ w

mp

for quite a few years.

Ú

bW

Two

bbW W

Ú Ú

mp

These two women are left behind and they both die when I'm not there.

T1 77 7

˙

mp

He had been fighitng illness for years, it took him a long time to die.

bbW W b W & ?

bW

7

It was the first time I'd seen my dad

& ‹

T2

Died.

f

Tom C

˙

7 mp

Her

& ‹

T1

œb œ œ 7

I feel quite lucky in that I am

bW

Ed

mp

7

We got her when I was eight, Amy f but it was twenty-two when the dog

A2

œ7bœ œ

7

7f

7

7 œb œ ˙

Died

Rosie

27

œœœ

7 mp

Shock

&

A1

El.

œœœ

bW

Laura

bœ œ

7mp

been really lucky.

Always going to be a massive shock Daisy f

S2

B2

II

7

b WW b W b W W

77 7

T2

œ


28

° S1 & 129

III

7 mf

œ7b œ œ œ œ

œœœ

IV

He used to turn up on our doorstep unannounced

with piles of toys from charity shops. Used

œbœ œ

& b˙

7 mf

7

It's the worst thing in the world

mf

& bW 7

bW

7

touch

mf

& œ bœ ˙

A1

worst

Ú

bœ œ

Relatively untouched by death.

mf

& A2

w

bœ bœ œ œ w

There had been this constant physical presence

mf

in the hosue since I was a child, who would always be there

& W

house

bw

mf

7 œ œœœœ & nœ b œ ‹ sobering, you have to step up and sup-

port. In my

Ú

mf

œ 7b œ œ & n˙ ‹ removed from it all really.

T2

mf

œ nœ ˙ & b˙ He overdosed at a party and ‹ was found the next week. It p ?7 bw 7

B1

œ œ bw

was more upsetting because I was only a mile away

bw

7

He was completely gone. He had a stroke, dementia, aneurisms.

He was a professional football referee

?7 bw

7

?

7

p

B2

El.

¢

{

bw

Ev'rybody's aware they're going to die and it sounds terrible but

They're not a big enough part of my life for me to go over and

p

bW

bW die T3

bW &b W W nW ? W 77

œœœ

bW

been

T1

œ

bœ œ7b w

7

but it's easy to lose touch with people.

S2

œ7b œ œ

bœ œ7bœ œ

7

part T4

W bbbbW WW

7

7

Ú


° bœ & 131

S1

V

œ bœ œ

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7 f

VI

mp

œœ

7

bœ b œ ˙

7 7

plastacine, videos about lemurs in Madagascar.

f

& bœ 7

bœ b ˙

œœ˙

7 7

mp

to come back together.

f

& bW 7

bœ œ bœ œ œ œ f

&

7

7

By the time she died we had

f

& nœ

bW

7

us

A1

7

œœœ

œ

back

˙

bœ œ œ ˙

7

mp

œœœ

mp

this big, joyful, happy thing

& W

W

joy

hour

f

other, so when you see raw emotions, its.

bwmp

7 bœ œ b w œ & ‹ They only found it two months before he died.

f

B1

He was in denial

wf

& ‹

œœœ˙

bwmp

7 bœ ˙ b w œ & ‹ family we're not particularly emotional with each

T2

œ 7b w

˙

f

T1

bwmp

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What would have happened if?

? bw

Ú

? bw

Ú

? bW

Ú

f

So he was incredibly, incredibly fit.

f

wait for them to die, for however long that takes.

B2

El.

¢

already gone through the grieving process.

every hour of the day and was always around,

A2

{

f

long

T5

W & bbnW W 7 7

? bbW W

œœœ

I saw him when he was very, very ill.

But it's been so important to us

S2

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T6

W bbbW WW

7

7

Ú

29


30

° 7 S1 & 7b œb œ

˙

He was asleep a lot, but he always

Ú

&

S2

œ

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7 & bW

p

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p

&

losing that was strange.

strange

p

& ‹

bw

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p

? bw

B1

?

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p

bw

7

age

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mp

w™

™™

w™

™™

ah

˙

√ ™™ ™ w

™™ ™ w

nw ™

™™

˙

√ ™™ w™

™™ w™

nw ™

™™

™™ w™ w™

w™ w™

™™

™™ w ™

w™

™™

ah

ah

ah

ah

˙˙

˙˙

Iy

Iy

√ ™™ w™ w™ ƒ

æ ˙ ˙ b˙

™™ √ æ™ w w w ™™

æ b˙˙ ˙

™™

w™

ah

ah

*see note

ah

ah

√ ™™ œ w™

œ ˙

ah

™™

ah

almost died laugh - ing

T1

√ œ ™™ w™

ah

pp

ah

bb &b b b

√ ™™ w™

DD mp ™™ w ™

Iy

CC1

* Use pursed lips to produce an overtone rich sound

mp

ah

mp

ah

mp

Iy

mp

ah

ah

Iy


° bb U S1 & b b b ˙ ™ 179

G.P.

EE q=88 Ó™

sempre mp

nnnnn 7b˙

w™

* see note on vowels

ah

eh

œœœœ˙ ah

w™

eh

Ó™

nnnnn

bb U b & bb ˙™

Ó™

nnnnn

bb U b & bb ˙™

Ó™

nnnnn

U b b & b b b n˙ ™ ‹ ah

Ó™

U b b & b b b n˙ ™ ‹ ah

Ó™

U ? b b B1.2. ¢ b b b ˙˙ ™™ u

Ó™ Ó™

S2

bb U b & b b ˙™

45

* see note on vowels

ah

A1

* see note on vowels

ah

A2

* see note on vowels

ah

T1

T2

{

Iy

bb U b & b b Ó™

El.

? bb U b b b Ó™ bbb U b & b ˙™

sempre mp

7

eh

œ œ œ œ w™ ah

oh

sempre mp, breath ad lib. n n n n n w™ w™

w™

O

overtones sempre mp, breath ad lib.

nnnnn w™

w™

w™

sempre mp, breath ad lib.

w™ w™

w™ w™

Iy

w ™™ w ™™ w w w w ™™ w™ w™ w™ ˙™

w ™™ w ™™ w w w w ™™ w™ w™ w™

Ö

U 7 DD1 bœ Ó nnnœœœœ œ U nœ Ó œ œ ˙ U ? œ

nnnnn w™ w™

7 77 bw ™™ n n n ™™ n n nbnw w w w w ™™ w™ n n ™ nnn w w™ ad lib. ™ n n nnn w

* Transition smoothly between vowels

˙

œ w™

à


46

° & 183

S1

Ó™

Ó

(norm.)

n œ 7n˙

7

ee

&

S2

b˙ ™

7

sempre mp

eh

&

A2

& bœ ˙ œ œ œ œ œ 7

eh

T1

T2

B1.2.

El.

¢

3

ah

ah

7 œ nw ™

w™

∑ ˙™

Ó™

∑ bw ™

7

ah

eh

w™

w™

w™

& w™ ‹

w™

w™

w™

? w™ w™

w™ w™

w™ w™

w™ w™

w ™™™ w w ™ & w w w ™™ ™ ? w w™ w™ ? w™

w ™™™ w w ™ w w w ™™ w™ w™ w™

w ™™™ w w ™ w w w ™™ w™ w™ w™

w ™™™ w w ™ w w w ™™ w™ w™ w™

w™

Bw ™

w™

ee

Ó™

ee

& w™ ‹

{

eh

˙™

A1

3

œ œ

ee

œ7b œ œ œ ˙


° ˙ à 7 œ 7bœ œ 7 b n œ w™ S1 & 187

eh ee

& Ó™

S2

w™

Œ n˙ 7

& & <b>˙

A2

47

eh

˙™

˙ 7b œ 7nœ ˙ 37bœ œ 3œ œ œ

ee

A1

eh

Œ Ó™

ee

eh

˙™

ee

7 n œ bœ œ

7

ee

∑ Ó™

à

Œ 7b˙

à

w™

eh

T1

T2

B1.2.

El.

¢

& w™ ‹

w™

w™

w™

& w™ ‹

w™

w™

w™

? w™ w™

w™ w™

w™ w™

w™ w™

w ™™™ w w ™ & w w w ™™ ™ ? w w™ w™

w ™™™ w w ™ w w w ™™ w™ w™ w™

w ™™™ w w ™ w w w ™™ w™ w™ w™

w ™™™ w w ™ w w w ™™ w™ w™ w™

w™

w™

{

?

˙™

˙

Bœ w™


48

° & 191

S1

FF

∑ Ó™

& 7n ˙ ™

S2

eh

&

A1

sempre mp

7

eh

& 7n ˙

A2

B1.2.

El.

¢

n œ ˙ #œ œ œ œ œ eh

w™

w™

w™

w™

& 7nw™ ‹ Ö

w™

w™

w™

? w™ w™

w™ w™

w™ w™

w™ w™

™™ nw w # &n w w ™™™ nw w™ 7 ™ ? nw w™ w™

™™ w w w ™™ w w w ™™ w™ w™ w™

™™ w w w ™™ w w w ™™ w™ w™ w™

™™ w w w ™™ w w w ™™ w™ w™ w™

ah

sim.

T2

oh

˙™

w™

& 7nw™ ‹ oo

T1

ah

œ ˙™

{

Iy

7 77

?

FF1

˙™

µ˙ ™

3

3

7

w™

eh

œ#œ œ œ ˙

#œ #œ œ

à

eh

ah

eh

˙™

˙

œ w™

µ˙ ™

˙

œ


° &

(norm.)

195

S1

#˙ 7n œ

7

nϪ

7

ee

&

S2

(norm.)

7

ee

& w™

A1

w™

(norm.)

& ˙ 7n œ #œ # œ œ #w ™

A2

eh

T1

T2

B1.2.

El.

¢

7

ee

oh

œ7nœ œ œ ˙ eh

Ϫ

#w ™ ah

w™

ee

w™

w™

w™

w™

w™

& w™ ‹

w™

w™

w™

w™

? w™ w™

w™ w™

w™ w™

w™ w™

w™ w™

™™ w w ™™ & w w w w ™™ ™ ? w w™ w™

™™ w w w ™™ w w w ™™ w™ w™ w™

™™ w w w ™™ w w w ™™ w™ w™ w™

™™ w w w ™™ w w w ™™ w™ w™ w™

™™ w w w ™™ w w w ™™ w™ w™ w™

?

w™

bw™

˙™

≠ à

w™

& w™ ‹

{

49

œ B˙

w™

bw™


50

GG à 7 ≠ 7# œ #œ™ œ™ 7 b˙ ˙

° & <#>w ™ 200

S1

ee

(norm.)

S2

eh

& #œ ˙ 7n œ œ œ œ œ w™ ee

eh

ah

eh

bw ™

3

3

7

w™

œnœ œ œ ˙

ah

ee

A1

&

A2

&

7

eh

T1

T2

B1.2.

El.

& w™ ‹

w™

& w™ ‹

w™

? w™ ¢ w™

w™ w™

™™ w w ™™ & w w w w ™™ ™ ? w w™ w™

™™ w w w ™™ w w w ™™ w™ w™ w™

<b> w ™

w™

{

?

w™

w™

O

w™

w™

Ö

w™ w™

w™ w™

™™™ w nbbnw w ™ w w w ™™ w™ w™ w™

w ™™™ w w ™ w w w ™™ w™ w™ w™

Iy

7 DD1 77

Descend freely into noise

œ œ œ œ ah

oh


≠ ° ™ <b> w S1 & 204

Ó™

(norm.)

7 7 Ó n œ n˙

ee

&

S2

b˙ ™

7

eh

&

A1

∑ 3

A2

eh

T1

T2

B1.2.

El.

¢

ah

7 ™ nw œ œ œ

ah

∑ ˙™

Ó™

bw ™

7

ah

eh

w™

w™

w™

& w™ ‹

w™

w™

w™

w™

? w™ w™

w™ w™

w™ w™

w™ w™

w™ w™

w ™™ w ™™™ w & w w w™

w ™™ w ™™™ w w w w™

w ™™ w ™™™ w w w w™

w ™™ w ™™™ w w w w™

w ™™ w ™™™ w w w w™

{

w™ w™ w™

w™ w™ w™

w™ w™ w™

ee

Ó™

w™

w™ w™ w™

eh

ee

& w™ ‹

™ ? w w™ w™

œ7b œ œ œ ˙

˙™

3 à7 b œ ˙ & w™ œ œ œ œ œ w™

ee

51


52

209 ° ˙ à 7 7bœ œ 7 bœ nœ S1 &

eh ee

& Ó™

S2

w™

w™

Œ n˙ 7

& & <b>˙

A2

eh

˙™

˙ 7b œ 7nœ ˙ 7bœ œ œ œ œ 3

ee

A1

eh

Œ Ó™

ee

3

eh

˙™

ee

ee

∑ Ó™

à 7 7bœ nœ œ

Œ 7b˙

à

w™

eh

T1

T2

B1.2.

El.

¢

& w™ ‹

w™

w™

w™

& w™ ‹

w™

w™

w™

? w™ w™

w™ w™

w™ w™

w™ w™

w ™™ w ™™™ w & w w w™

w ™™ w ™™™ w w w w™

w ™™ w ™™™ w w w w™

w ™™ w ™™™ w w w w™

{

™ ? w w™ w™

w™ w™ w™

w™ w™ w™

w™ w™ w™


° & 213

S1

HH

53

∑ Ó™

& 7n ˙ ™

S2

eh

&

A1

7

eh

& n˙

B1.2.

El.

¢

eh

w™

w™

w™

& 7nw™ ‹ Ö

w™

w™

w™

?

w™ w™

w™ w™

w™ w™

w™ w™

™ nw w ™™™ # w n & w w n w ™™ 7 ™ ? nw w™ w™

™ w w ™™™ w w w w ™™ w™ w™ w™

™ w w ™™™ w w w w ™™ w™ w™ w™

™ w w ™™™ w w w w ™™ w™ w™ w™

sim.

T2

n œ ˙ #œ œ œ œ œ

w™

& 7nw™ ‹ oo

T1

oh

˙™

w™

eh

{

Iy

7 77

FF1

œ#œ œ œ ˙

ah

œ ˙™

ah

3

3

7

w™

7

A2

#œ #œ œ

à

eh

ah

eh


54

° S1 &

7

ee

&

S2

(norm.)

7

ee

& w™

A1

n œ ™ œ™ nœ #w ™

(norm.)

217

w™

à 7 & ˙ 7n œ #œ # œ œ #w ™

œn œ œ œ ˙ 7

eh

7

7

ah

w™

≠à

w™

ee

(norm.)

A2

eh

T1

T2

B1.2.

El.

¢

ee

oh

w™

& w™ ‹

w™

w™

w™

w™

& w™ ‹

w™

w™

w™

w™

? w™ w™

w™ w™

w™ w™

w™ w™

w™ w™

™ w w ™™™ w & w w w ™™ ™ ? w w™ w™

™ w w ™™™ w w w w ™™ w™ w™ w™

™ w w ™™™ w w w w ™™ w™ w™ w™

™ w w ™™™ w w w w ™™ w™ w™ w™

™ w w ™™™ w w w w ™™ w™ w™ w™

{


° & w™ 222

S1

(norm.)

S2

ee

A1

3

& #œ ˙ n œ œ œ œ œ 7

&

3

7

eh

II Flexible tempo ∑ à 7n wp ™

w™

T1

T2

&

& w™ ‹ & w™ ‹

? w™ B1.2. ¢ w™

El.

{

™™ w w w ™™ & w w w ™™ ™ ? w w™ w™

ah

ee 7 Œ ™ n œ™ #œ™ 7#œ™

w™

(norm.)

p

7

eh

A2

ee

ah

w™

∑ ≠

norm. p

nw™

oo

w™

p

nw™

ö

w™ w™ ™™ w w w ™™ w w w ™™ w™ w™ w™

p

w™ w™

™™™ w nbbnw w ™ w w w ™™ w™ w™ w™

DD1

7 77

55


56

° S1 & 226

S2

&

∑ nw ™

7

ah

∑ nU w™

overtones

7

ö

A1

&

A2

&

& ‹

T1

& w™ ‹ ö

? B1.2. ¢ w™ w™

T2

iy

El.

{

& ?

U w™ ö

U w™™ ∑ u

o

Profile for joseph.bates

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